Visit our corporate site. Key Features3-pattern large diaphragm condenser mic with high-pass filter and 10 dB pad; very smooth response; well suited for especially digital recording. The TLM 67 offered the perfect portal for an acoustic guitar recorded to Pro Tools through Apogee Rosetta 800 converters. The TLM 67 offers three polar patterns (omni, cardioid and figure-8), and has a -10dB pad and a highpass filter dropping 6dB per octave starting at … To wit; how can a mic with no vacuum tube or transformer be positioned as the evolution of a mic with a tube and transformer? The low end is more balanced and there’s only a small presence lift, which means the source cuts through without getting edgy. Powered by an SSL 4000 E Series mic preamp, the TLM 67 captured the kit perfectly, with plenty of bottom end, a balanced perspective of the snare and toms, and crystal-clear renditions of the cymbals and the “room vibe.” A little crunch provided by the SSL’s channel compressor brought out even more room, making it a part of the drum mix that completed the track. It was fantastic on acoustic guitar and a winner on sax and male vocals. The mic excelled on tenor sax through a Neve VR’s mic preamp. Using the TLM 67s figure of eight pattern, I found a good spot about six inches from the cabinet that gave me a nice chunk, good mids and a nice clean top. But like any mic it's better on some sources over others 9 For about six years, I’ve been suggesting that mic design needed to change because, with good digital recording, the extra HF boost needed to overcome analog tape HF loss is no longer needed. Although you have to be careful not to use it in ultrahigh-SPL situations (its specs promise 5% THD at 125 dB in cardioid mode), it is an able transducer when used as a room mic placed six feet over a drum kit or about six feet in front of a guitar amp. Normally I have to pull out some low end when I work a mic at about three inches for voiceover — not so much with the TLM 67. I regularly hear test mics on a great vocalist who is tough to record due to his strident tone, and the TLM 67 worked where other condensers have failed miserably. Neumann’s most recent microphone — the TLM 67 — was a welcome visitor when it arrived. Fast Facts ApplicationsAll professional recording. The kick drum’s presence was stellar and offered lots of “in your chest” boom, making the TLM 67 a great companion to the Shure Beta 52 inside the drum. The TLM 67 is smoother than the TLM 49 I reviewed a few years ago. Equivalent noise levels, CCIR, are 29/24/30 dB. Flipping it over to the figure-8 polar pattern made the mic more directional and took out some of the boom from the “south” end of the guitar. I think the the right approach in considering the TLM 67 is to not think of it as a solid state U67, but just a less bright and nice character mic over the U87ai. The TLM 67 offers three polar patterns (omni, cardioid and figure-8), and has a -10dB pad and a highpass filter dropping 6dB per octave starting at 250 Hz in cardioid and 180 Hz in omni. I liked being able to play with the polar patterns and roll-off during the recording process, which gave me numerous tonal variations. Both are good for different reasons, but neither is a perfect all-rounder. I found recordings of both guitars were accurate and with nice attention to mid range detail. Unlike the U67, this is a solid state mic. As such, the insides are very tidy. The TLM 67 is not inadequate. I found the TLM 67 great for vocals, acoustic guitar and guitar amps. The TLM 67 sounds even quieter than its quoted figures. I found that it wasn’t what the TLM 67 brought to the party I liked as much as what it didn’t: no nasty edges, no hyped bottom or top, just a clean and balanced sound. In the K67 and K870, the electrodes are electrically connected.”. I hope this review helps you make the right choice for you! With the TLM 67, everything old is new again … or is it? There are too many variables involved to say “yes” as every U67 has its own personality. I have to preface this review by saying that I’m skeptical of tube simulations in general after being disappointed a number of times. At $3,858 list (about $2,600 street and $2,300 without the EA 87 suspension mount), it’s expensive and very nice. Update my browser now, UPDATE OF FLAGSHIP 1960S LARGE-CAPSULE TUBE MIC, By Kevin Becka Published: October 15, 2008. His tone was balanced with a pleasant bottom end and a sense of tameness in regards to edgy transient peaks. If you want a mic “with character,” I’m not sure what that means other than a mic that changes the way things really sound. That said, after listening to the TLM 67 in a number of applications, it pleasantly surprised me. S mic preamp sounded great no matter where I put it surface mount technology similar to that in the 67! On acoustic guitar and a sense of tameness in regards to edgy transient peaks the rated impedance 50! Review helps you make the right choice for you workhorse with three polar patterns and roll-off during recording... Vibrolux volume up to 7 and the TLM 67 is a versatile studio workhorse with three polar and... 800 converters as hell, due to an extremely quick capsule and by. The typical omni, cardioid and figure-of-eight thanks for the amazing service and recommendations, always…cheers. And with nice attention to mid range detail as every U67 has its own constrained! 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